Meu Irmão é Filho Único

Luchetti's film ('Il mio fratello è figlio unico') goes from the Sixties into the Seventies in Italy following two brothers from a communist working-class family. Accio Benano, the rebellious younger one, who drops out of seminary very quickly, gives in to the constant indoctrination of a much older bus driver pal named Mario (Luca Zingaretti) and joins the fascist party. Then he falls in love with Francesca (Diane Fleri), the girlfriend (the first of a series) of his Lothario older brother Manrico (blue-eyed dreamboat Riccardo Scamarcio). Manrico becomes a leftist leader in '68 and moves on to terrorist activities in the Seventies. Accio's black-shirt cohorts cause their share of bother too, of course, but they are depicted as both inept and betraying Accio's confidence. Eventually the latter realizes he's a leftist too at heart. (He only adopted fascism because he wanted to be contrary.) This change in Accio comes almost in time to save Manrico from big trouble.

It took me a while to adjust to the shift in actors when Accio goes from early to late teens. No doubt Elio Germano was an inevitable choice for the older Accio because of his sweet, ironic presence: he's a lovely actor. But the younger actor, Vittorio Emanuele Propizio, and the incidents Accio's involved in early on, project a spirit of fun and craziness that I missed thereafter. In fact, the promise of the early sequences gets dissipated in what becomes an increasingly plodding (and overly telescoped) series of events as Accio's and Manrico's politics, love lives, and family involvements criss-cross over the years.

Reports from those who've read Antonio Pennacchi's amusingly titled novel 'Il fasciocommunista' say the movie lightens things up, but Sandro Petraglia and Stefano Rulli, who collaborated on the screen adaptation, seem to have gotten bogged down and too literally followed the story after those light-hearted and promising beginnings. Mind you, Petraglia and Rulli are no slouches: they also scripted the recent 'Criminal Romance' (veteran actor Michele Placido's 2005 directorial debut, which also features Scamarcio) as well as the highly successful theatrically released TV miniseries 'The Best of Youth,' whose decade-sweeping plot this film's somewhat echoes.

A memorable set piece shows Manrico introducing a '68 reworking of Beethovan's 'Ode to Joy' with revolutionary lyrics. During the performance Mario's fascist hooligans move in, and their targeting his own brother leads to Accio's final break with the right.

The family's base is Latina, a town created by Mussolini south of Rome, which makes an ever-present reminder of heavy Italian legacies. Mario represents the element who refuse to erase or forget the nation's fascist past. He argues (among other things) that there's a worthwhile legacy of architecture. Indeed fascist architecture does have a certain kitsch charm one ought not reject too easily; and an inability to come to terms with the fascist past is surely one of the main reasons for Italy's muddled self-image. This story is a stab at dealing with that psychological issue in a healthy way.

'My Brother Is an Only Child,' which was rejected by the Cannes jury for Official Entry status, lacks the fluidity of Gabriele Muccino's 'Io come te nessuno mai' (which, though very different, comes to mind for its blending of coming of age, family conflict, and politics) but it has a kind of vernacular vigor. It's true, Italian cinema continues to go through a largely lackluster period, and Italian film-goers appear to have been bitterly disappointed with Luchetti's latest. That's a bit of a shame, because there is a lot of charm and humanity here, and for anyone interested in Italy and its modern history, this should be required viewing.

Seen during a limited run in Paris, October 17, 2007.

MY BROTHER IS AN ONLY CHILD ('Mio fratello è figlio unico') is a title that may confuse the casual movie viewer, but it is an apt summation of the rigorous story that this excellent Italian film by Danielle Luchetti (adapted from a novel by Antonio Pennacchi) represents - the coming of age of two brothers in the confusing and turbulent 1960's and 1970's in Italy. While the film deals with the myriad political factions that disrupted life especially among the students of that era, the main focus of the story is the indomitable brotherly love that bonds the two main characters.

Accio Benano (Vittorrio Emanuele Popizo) as a child is a mischief maker who has entered seminary to become a priest, but his innate search for truth and meaning soon finds him returning home to his little family in a Mussolini-fabricated town called Latina, a village built on promises of communal well-being (a housing project was built but the poor villagers are refused access to it), but languishes in the poverty of lost hopes and deflated spirits. Accio's father, mother, younger sister and older brother Manrico (Riccardo Scamarcio) are making ends meet, but are frustrated with the political oppression of the working class. Time passes and the older Accio (Elio Germano) comes under the influence of Mussolini's 'idealism' with the tutelage of his older friend Mario (Luca Zingaretti) and embraces Fascism while Manrico has aligned with the communists, and it is this dichotomy of belief that sets Accio apart from his brother as well as his family who are communist sympathizers. Accio's personality places him in harms way with the law, with women (he has longings for the women in both Mario's and Manrico's lives), and ultimately with turns of events that threaten to pit brother against brother. The resolution of these conflicts makes for a fascinating study of familial ties, brotherly love, and a keenly observed sociopolitical history of Italy that is as enlightening as it is entertaining.

While Germano and Scamarcio are the obvious stars of this well acted film, the supporting cast (including such fine actors as Angela Finocchiaro, Massimo Popolizio, Alba Rohrwacher, Anna Bonaiuto, and Diane Fleri) is uniformly strong. This epic film demands full attention to the script (Italian with English subtitles) to follow the various political differences, but the tenor of the film is one of the excitement and concomitant love of two brothers coming of age in the best Italian style! It is a joy to watch and a lesson in history about which we should all be aware. Grady Harp

The political backdrop of this 60s character drama is both nostalgic and frightening - that disaffected and rebellious Accio finds himself so easily taken in by a Fascist mentor strikes parallels with the our own young men turning to extremism or street violence in a search of identity. Accio clashes dramatically with his older brother, the hip, good-looking communist, but the story not so much about political ideals as their expression of familial jealousies and personal moral development.

The tensions and affections of this struggling working class family, portrayed by all with genuine emotion. The dialogue is witty and charming and not unlike other memorable Italian films (Il Postino, Cinema Paradiso) the characters come across almost too resoundingly. This gives the film a well-crafted theatrical quality, that is engaging, well-paced and very satisfying.

I rushed to see this movie, with Elio Germano, perhaps the best Italian actor of his generation, and Riccardo Scamarcio, the heartthrob of the moment. I got upset about the rejection from the snobbish Cannes Festival and I wanted to see the film by myself. Now, after having seen it, unfortunately, I have to agree with the Cannes decision. The film is a tired rehash of other books/films/TV done indifferently and boringly with two saving graces: Elio Germano's and Angela Finocchiaro's performances. The rest is, quite frankly, unendurable. The film felt long, long, long and I got more and more impatient and eventually angry with the whole thing. The Italian cinema that once was a power force of inspiring themes and ideas seems to have arrived to a total dead stop. The artists, I feel, with something new to say, like Libero Di Rienzo - have you seen his "Sangue" with Elio Germano as well? No, I bet you haven't. It was released in secrecy and for my money, his movie had something new to say in a totally new exciting way. I fear we, in Italy, can't move forward because we're trapped in some king of structure that it's terrified of new ideas. As a consequence we have films like this one. A throw back to the past and not in a nice way. Cannes? Are you nuts?

'My Brother is an Only Child' tells the story of two red-blooded siblings as they take their first steps into political and sexual adulthood in the Italy of the 1960s. It's an intriguing premise, but for me, it didn't quite come together. Specifically, the fascism and communism that its protagonists pursue seem obviously unappealing: the film fails to convey how anyone could follow such causes except out of immaturity, though there are some funny moments (the new leftist lyrics to Beethoven's Ninth Symphony the most obvious of them). At the end of the film, a housing scandal is exposed, but the film doesn't really explain how the scam had worked: the story would make sense if the houses in question hadn't actually been built, but in fact they have been, and one senses that the writer has resolved a happy ending without worrying too much about the details. What's nice about this film is its portrait of a place and a time, and the very believable love-hate relationship between the brothers; but if you weren't there yourself, perhaps its inevitable that you find yourself looking in from the outside.